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Read through the most famous quotes by topic #d
For this new-married man approaching here, Whose salt imagination yet hath wrong'd Your well defended honour, you must pardon For Mariana's sake: but as he adjudged your brother,-- Being criminal, in double violation Of sacred chastity and of promise-breach Thereon dependent, for your brother's life,-- The very mercy of the law cries out Most audible, even from his proper tongue, 'An Angelo for Claudio, death for death!' Haste still pays haste, and leisure answers leisure; Like doth quit like, and MEASURE still FOR MEASURE ↗
For Leopardi, unhappy hedonist that he was, what is unknown is always more attractive than what is known; hope and imagination are the only consolations for the disappointments and sorrows of experience. Man therefore projects his desire into infinity and feels pleasure only when he is able to imagine that this pleasure has no end. ↗
The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous. ↗
When my head is in the typewriter the last thing on my mind is some imaginary reader. I don’t have an audience; I have a set of standards. But when I think of my work out in the world, written and published, I like to imagine it’s being read by some stranger somewhere who doesn’t have anyone around him to talk to about books and writing—maybe a would-be writer, maybe a little lonely, who depends on a certain kind of writing to make him feel more comfortable in the world. ↗
My wandering imagination never gives up on me and always finds ways to explore what my emotions entail. ↗
We imagine that our theological/conceptual systems are the means by which we know God as God is. I truly believe that such postures and perspectives put us in danger of conceptual idolatry, worshiping our ideas of and frameworks for God. ↗
What is more irritating than to see one’s subject, on whom one has lavished so much time and trouble, slipping out of one’s grasp altogether and indulging — witness her sighs and gasps, her flushing, her palings, her eyes now bright as lamps, now haggard as dawns — what is more humiliating than to see all this dumb show of emotion and excitement gone through before our eyes when we know that what causes it — thought and imagination — are of no importance whatsoever? ↗
Men like to imagine and think vulgar thoughts, but present them with boldness and they run scared. ↗
The danger of abusing the discovery of the truth value of imagination for retrogressive tendencies is exemplified by the work of Carl Jung. More empathically than Freud, he has insisted on the cognitive force of imagination. According to Jung, phantasy is ‘undistinguishably’ united with all other mental functions, it appears ‘now as primeval, now as the ultimate and most audacious synthesis of all capabilities.’ Phantasy is above all the ‘creative activity out of which flow the answers to all answerable questions’; it is ‘the mother of all possibilities, in which all mental opposites as well as the conflict between internal and external world are united.’ Phantasy has always built the bridge between the irreconcilable demands of object and subject, extroversion and introversion. The simultaneously retrospective and expectant character of imagination is thus clearly stated: it looks not only back to an aboriginal golden past, but also forward to still unrealized but realizable possibilities. ↗
